Author Topic: Late Summer Air part 2  (Read 365 times)

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JWitt

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Late Summer Air part 2
« on: April 25, 2017, 02:11:07 PM »
This piece is a continuation of the first one.  I sort of had in mind a third part after this, but haven't gotten very far. 

In both of these I was trying to learn to put together related notes to make chords with some logical chord progressions.  I was placing notes and looking up the chords in my copy of "Complete Idiots Music Composition".

It's not a surprise that I'm missing some structural things, like beginning, middle and end.  ::) I first tried to come up with a melody line to base the pieces around and then elaborate that.  There are so many music features/ideas to explore.

Thanks,

John
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Ron

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Re: Late Summer Air part 2
« Reply #1 on: April 25, 2017, 02:37:02 PM »
It might help if you start with a basic plan, such as A-A-B-A; 6-8 measures each with transition material. Make the B section a contrast to the A, and vary the A section each time it repeats. You also need a harmonic/tonal center plan. For example, 1st A in your main key; repeated A in a related key; B in yet another related key; then back to your main key for the final A. Without a basic plan of some sort music tends to wander aimlessly and lose the listener's interest.

I notice you are using slurs very sparingly. In woodwinds should they not embrace entire phrases, as "end of slur" is usually a breath break?

And, you play the oboe, so I assume you are aware of the danger in leaping down to middle C.
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JWitt

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Re: Late Summer Air part 2
« Reply #2 on: April 25, 2017, 03:09:08 PM »
Whoa, thanks for looking at this so quickly.  Very good suggestions you have made.  A plan, now why didn't I think of that...

And you're right on, the main fault I have with both of these is that they really don't go anywhere. 

I have trouble understanding some of the terminology.  For instance when you say to make the B section "contrast" with the A, do you mean, for instance, same melody but different key, different tempo or different dynamic, or all of those things? Or perhaps a different melody line?

For slurs, I haven't thought of treating them the way you suggest, but more as a connection of one note to the next without as much articulation as the separate notes.  I was trying to use rests for breathing.

Due to family medical problems, I have not played much for about 5 months and I am not having enough breath for some of the intervals.  It's mostly a physical conditioning problem, but it comes back very slowly.
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Ron

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Re: Late Summer Air part 2
« Reply #3 on: April 25, 2017, 04:02:23 PM »
"A" is a way of referring to a melody of about 8 bars that forms a completely--or almost complete--statement. "B" would be something tied to the A section, but stated differently. Think, for example, of a verse and chorus in a hymn or simple pop song as A and B. The B section is almost always a different key and is similar, but not too similar to the main, A, theme. I've already suggested you do your repeat of A in a different key. A common practice pattern might be: A: Bb major; repeat A in Eb major; B in G minor; then A back in Bb. These days we would try something more adventuresome using non-major and minor scales and more extreme relationships between tonal centres: for example: B, Eb, G, B. Or C, Eb, F#, A, C.

Sorry to hear about your physical problems.
Ron
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JWitt

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Re: Late Summer Air part 2
« Reply #4 on: April 25, 2017, 04:48:59 PM »
Ron, thanks to you and others for advice and the tutorials.  Those make the participation here very valuable.  Hope I don't appear to be too illiterate!  You can be assured I'll give the advice a trial in the next few days.

Regards to all,

John
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Ron

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Re: Late Summer Air part 2
« Reply #5 on: April 25, 2017, 04:54:47 PM »
Here's a quick analysis of the structure of a simple piece.
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RJB54

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Re: Late Summer Air part 2
« Reply #6 on: April 26, 2017, 11:55:27 AM »
Like the other piece this is a nice piece, but it also very static.
Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is THE BEST.
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JWitt

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Re: Late Summer Air part 2
« Reply #7 on: April 29, 2017, 04:20:57 PM »
I had a chance to work on this some this afternoon, mostly figuring out how to do the cut/paste/change key properly (actually simple to do).

This is the first part of the oboe melody, starting with it transposed to Bb  maj, with a couple of bars of bridge to Eb maj and a small variation on the melody, then bridge back to Bb maj, again with a little variation.

No attempt at this revision to make chord progressions or anything else.  I think it's more interesting, but I've lost some of the feel I originally wanted, so will redo in different keys to see if I can get where I want to go.

I left this in the default piano instrumentation.  If needed I can substitute oboe for a better comparison with the original.

I do appreciate the comments and help.

John
« Last Edit: April 29, 2017, 04:26:08 PM by JWitt »
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JWitt

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Re: Late Summer Air part 2
« Reply #8 on: April 29, 2017, 04:32:06 PM »
I changed the tempo and instrument to oboe. Sounds better than piano for this piece, I think.
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mjf1947

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Re: Late Summer Air part 2
« Reply #9 on: April 29, 2017, 07:05:50 PM »
Hi,

I don't understand your use of the key signatures in the work?

Explain please?

Also this piece could use a good piano accompaniment .... what do you think?

Mark

JWitt

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Re: Late Summer Air part 2
« Reply #10 on: April 29, 2017, 07:14:43 PM »
The key signatures allow Musescore to transpose the score automatically, since I used cut and paste to initially move the parts around and change keys.  This is just the oboe part from the previously posted piece that has English horn as the second instrument of the duet. Also helps remind me where I am.   :P

I thought to put this up to see if I was heading in the right direction.  It's mainly just an example of something to incorporate in the duet.   Also, I don't play piano.
« Last Edit: April 29, 2017, 07:17:42 PM by JWitt »
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